Oberheim Matrix 6R

The Matrix 6 was one of the last few synthesizers from Oberheim to come
out during the mid-eighties following the classic OB-series. The Matrix
6 utilized high-tech but less expensive digital and midi features and
still retained a totally analog sound. It did this by using DCOs
(digitally controlled oscillators) to provide stability, programmability
and more. All the Matrix synthesizers featured Matrix Modulation which
allows for extremely wild virtual patching for almost unlimited range of
sounds and modulation capabilities!

The Matrix 6 is a very popular synthesizer today because it offers
access to the legendary sounds and power of the Matrix 12, though not as meaty but at a fraction
of the cost. The Matrix 6 is also like the Xpander, but with only 6 voices of polyphony
and slimmer programming. Each of its 6 voices has a pair of DCOs, a low
pass filter, 2 VCA's, 3 envelope generators, 2 LFO's, and 2 ramp gens
for a variety of complex analog pads, basses and sounds.

The programmability is vast, but it can be very tedious. As was the
growing trend in synthesizers during this time, knobs and sliders were
replaced by just a few membrane buttons and a simple data slider. This
is accompanied by gobs of programming and patch data written across the
face of the unit. Fortunately Midi SysEx is fully supported so you can
get patches on-line and transmit them into the Matrix. Access, makers of the Virus,
used to make the Matrix Programmer
which gives you much more user friendly hands-on controls too. And software
editors such as Unisyn make graphic editing possible for much easier
programming.

The Matrix 6R (pictured above) is the Matrix 6 without a keyboard,
retaining its membrane programming interface. Oberheim later produced
the Matrix 1000, which is essentially 1000
patches from the Matrix 6 in a 1-unit rack-module, preset and editable
only through SysEx. For professional studio work or live on stage,
both the Matrix 6 keyboard and rack-mount are excellent and versatile
synths that make a great source of bright and punchy sounds, vintage
analog pads, textures and ambient sounds. It is used by Orbital
Apollo 440, Jimmy Edgar, Philip Glass, The Grid, Future Sound of London,
Astral Projection, The Shamen, Mouse on Mars, Tangerine Dream and
Cirrus.